trax disc 1:
1. Baby Please Don't Go - Big Joe Williams 2. I Need Some Money - John Lee Hooker 3. Give Me Central 209 - Lightnin' Hopkins 4. Black Poney Blues - Arthur "Big Boy" Crudup 5. Bottle It Up And Go - Tommy McClennan 6. Walking Alone - Memphis Slim 7. Rats In My Kitchen - Sleepy John Estes 8. Ain't Nobody's Business - Jimmy Witherspoon 9. Mississippi River Blues - Big Bill Broonzy 10. Careless Love - Sonny Terry & Brownie McGhee 11. She Don't Treat Me Good No More - Blind Willie McTell 12. Goin' Back To Chicago - Smokey Hogg 13. Something's Wrong With My Little Machine - Robert Henry 14. I Love My Baby - Tommy McClennan 15. Blue Harvest Blues - Mississippi John Hurt 16. All My Money Gone - Roosevelt Sykes 17. Barbecue Blues - Barbecue Bob 18. Runaway Man Blues - Floyd Council 19. Notoriety Woman - Slim Pickens 20. Thousand Woman Blues - Pink Anderson 21. Take A Little Chance - Jim DeBerry 22. Runaway Woman - Sonny Terry 23. Why Should I Worry? - Smokey Hogg 24. Terra Mae (Taylor Mae) - Doctor Ross 25. I Believe I'll Dust My Broom - Robert Johnson
trax disc 2:
1. Death Valley Blues - Arthur "Big Boy" Crudup 2. Better Day - Sonny Terry & Brownie McGhee 3. Catfish Blues - Robert Petway 4. Little School Girl - Smokey Hogg 5. Water Boy - John Lee Hooker 6. Call Me Before You Go Home - Memphis Slim 7. Key To The Highway - Big Bill Broonzy 8. Sad News From Korea - Lightnin' Hopkins 9. Spoon's Blues - Jimmy Witherspoon 10. Pistol Slapper Blues - Blind Boy Fuller 11. Little Boy Sue - Robert Lockwood Jr. 12. Canned Heat Blues - Tommy Johnson 13. Stomp Down Rider - Blind Willie McTell 14. Dirty Mother For You - Memphis Minnie 15. Highway No. 51 - Tommy McClennan 16. Dark Night Blues - - Johnny Howard 17. Joe's Jump Joe Hill Louis 18. I'm Getting Wild About Her - Big Joe Williams 19. Misery Blues - Smokey Hogg 20. Oh Laudy Mama - Curley Weaver 21. Old Battle Ax - Robert Henry 22. It Must Be Love - Brownie McGhee 23. Frankie And Johnny - Mississippi John Hurt 24. Black Spider Blues - Robert Lockwood Jr. 25. Trouble In Mind - Jimmy Witherspoon And Wilbur De Paris
...served by Gyro1966...
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15 comments:
"Acoustic Blues" - 50 Raw Blues Classics
...served by Gyro1966...
gitit! no pw
CD1
http://www23.zippyshare.com/v/HDE3soPm/file.html
CD2
http://www23.zippyshare.com/v/Yox5Fx51/file.html
BONUS 1 OF 8 @320
Lil' Son Jackson - Rockin' & Rollin' 48-50, Vol. 1
Melvin "Lil Son" Jackson was the last of a long line of Texas country blues players, and in many ways he was the most polished, playing steadier guitar than Lightnin' Hopkins, the Texas bluesman he most resembles, and his cool, clear vocals carried his stories of romantically wounded ramblers out of the realm of cliché and into the territory of actual narrative, which is probably the only really modern thing about Jackson's early recorded work. He worked off of the old country blues forms and themes, but in adapting them to his own needs, he personalized them just enough to give them singularity. Thus "Milford Blues," which is presented here as part of this collection of Jackson's earliest recorded sides for Bill Quinn's Gold Star Records, draws from the lines and structure of the traditional blues "Deep Blue Sea," but in Jackson's hands it becomes a steady narrative instead of a stock assemblage of old blues clichés, even though that's still really what it is. It's a pretty nifty trick, and Jackson had it down. This set from Document includes material Jackson recorded between 1948 and 1950, all of it featuring Jackson singing solo to his own acoustic or electric guitar accompaniment, and it is a true delight, with wonderful versions of "Roberta Blues," the magnificent "Freedom Train Blues," the aforementioned "Milford Blues," and Jackson's own version of his main claim to immortality, "Rockin' and Rollin'," which morphed over time into the blues standard "Rock Me Baby." Jackson's smoothed-out rustic delivery gives everything a kind of internal coherence, and makes him seem less erratic than a player like Hopkins, even as he worked similar territory. And like Hopkins, Jackson ran into problems when he began working with small combos later in his career, due to the little rhythmic eccentricities in his playing. These early solo sides are really Jackson in his natural state, though, and make up what is arguably his best work. (Steve Leggett, Allmusic)
http://www30.zippyshare.com/v/6UopUBG6/file.html
INFO
http://www.allmusic.com/album/rockin-and-rollin-vol-1-1948-1950-mw0000543411
BONUS 2 OF 8 @320
Lil' Son Jackson - Restless Blues 50-52 Vol. 2
Melvin "Lil Son" Jackson was the last of a long line of Texas country blues players, and in many ways he was the most polished, playing steadier guitar than Lightnin' Hopkins, the Texas bluesman he most resembles, and his cool, clear vocals carried his stories of romantically wounded ramblers out of the realm of cliché and into the territory of actual narrative, which is probably the only really modern thing about Jackson's early recorded work. He worked from the old country-blues forms and themes, but in updating and adapting them to his own needs, he personalized them just enough to give them singularity. This set from Document, the second in the label's presentation of Jackson's complete recorded work, includes material he recorded between 1950 and 1952 for Imperial Records at sessions held in Dallas, Houston, and Fort Worth, some of it featuring Jackson singing solo to his own acoustic or electric guitar accompaniment and some of it with a small blues combo behind him. Highlights include the intimate opener, "New Year's Resolution" (where Jackson clearly sings "revolution" rather than "resolution," which actually adds to the song's charm), the wise (if obvious) "Time Changes Things," the nervous "I Wish I Could Go Home" and the energetic and feisty jump blues of "Red Light." Jackson also does a band-backed do-over of his most famous song here, "Rockin' and Rollin" # 2," which had previously been recorded in a solo setting as "Rockin' and Rollin'," which morphed over time into the blues standard "Rock Me Baby." Jackson pretty much left the music business after his final session for Imperial in 1954, turning his attention increasingly to gospel, although he did record a rediscovery LP of his vintage country-blues for Arhoolie Records in 1960 and cut a few tracks for Roy Ames in Houston in 1963. He was, for all practical purposes, the last of the true country-blues originators to come out of Texas, and his death in 1976 was an incalculable loss to the blues community. (Steve Leggett, Allmusic)
http://www30.zippyshare.com/v/Uw0dawfL/file.html
INFO
http://www.allmusic.com/album/volume-2-restless-blues-mw0000772853
BONUS 3 OF 8 @320
Wreckless Eric - amERICa '15
Though he's best known for his 1977 hit "(I'd Go the) Whole Wide World," British new wave rocker Wreckless Eric has led a long, deep and varied career. And he's hardly slowing down: Later this year, he'll return with a brand new LP.
The release is called amERICa, named for the country he's called home since 2011. It features 11 new songs, and marks his sixth full-length solo album as Wreckless Eric (outside of that name, he's had a packed career full of collaborations and side projects).
1. Several Shades of Green
2. Sysco Trucks
3. White Bread
4. Transitory Thing
5. Days of My Life
6. Boy Band
7. Property Shows
8. Up the Fuselage
9. Space Age
10. Life Eternal
11. Have a Great Day
http://www50.zippyshare.com/v/sQslqJ7a/file.html
INFO
http://wrecklesseric.com
http://exclaim.ca/music/article/wreckless_eric_plots_america_lp_tour
BONUS 4 OF 8 @320
Jeff Lynne's ELO - Alone in the Universe '15
Lynne’s label, Columbia Records, has announced a Nov. 13 release for the new LP, which is titled All Alone in the Universe and marks Lynne’s first studio outing under the ELO banner since 2001’s Zoom. The set is preceded by a single, “When I Was a Boy,” which you can hear below; the song will be available as an instant download for fans who pre-order the album via Amazon or iTunes starting Sept. 25.
Read More: Jeff Lynne's Electric Light Orchestra Reveal Details of New 'All Alone in the Universe' LP, Release New Single 'When I Was a Boy' | http://ultimateclassicrock.com/elo-all-alone-in-the-universe/?trackback=tsmclip
http://www50.zippyshare.com/v/l4lFGhCp/file.html
INFO
http://ultimateclassicrock.com/elo-all-alone-in-the-universe/
http://www.amazon.com/Jeff-Lynnes-ELO-Universe-Exclusive/dp/B015RND9H0
BONUS 5 OF 8 @320
The Velvet Underground - (1970) Loaded (Remastered 2015)
Loaded is a perfect rock'n'roll record: 40 minutes long, five songs to a side, and not a single wasted note. Originally released in 1970, the Velvet Underground’s fourth album marked the moment where Lou Reed’s early gig as a Pickwick Records song doctor ceased to be an amusing footnote to the band’s story and became their governing principle. Loaded is the sort of proper album that feels like a greatest hits collection, with each track thoroughly inhabiting and mastering a dominant rock archetype: the hippy-dippy, harmony-rich singalong; the sneering, street walkin’ prowler; the cheeky honky-tonk throwback; the wedding slow-dance standard; the dirty blues grind; the lighter-waving, anthemic grand finale. Loaded remains the one Velvets album you can put on at a house party among mixed company without killing the vibe or sending people running for the door, and it contains the only song in their repertoire—"Sweet Jane"—that you have any hope of hearing on an oldies station today.
http://www56.zippyshare.com/v/H6yx2j7t/file.html
INFO
http://pitchfork.com/reviews/albums/21220-loaded-re-loaded-45th-anniversary-edition/
BONUS 6 OF 8 @VBR
Istanbul 70 Psych, Disco, Folk Classics '11
Since the latter part of the first decade of the 21st century, bits and pieces of Istanbul's Anatolian pop and Turkish rock movements of the late 1960s and early 1970s respectively, have been tricking out on CDs and LPs. Works by Erkin Koray have been most prevalent, but we've also seen the catalogues of Cem Karaca, and Bariş Manço, early tracks by Esmeray, and more. This compilation issued by the New York's fine and adventurous Nublu label offers a fine overview of the post-Anatolian pop scene by the innovators of the Turkish rock scene, with early cuts by these artists and more. The latter days of the Ottoman Empire were responsible for the access to Western music. Young people reacted enbthusiastically nationally, but Istanbull was the cultural hotbed. Bands were formed and singers recorded versions of Western hits using local instrumentation and modalities. Even Western artists --from Europe--recorded albums in Turkish. At the dawn of the 70s with the new economic prosperity ushered in by Bulent Ecevit government, more adventurous artists began trying to forge original music that drew equally on Western and Turkish styles. Thus the Turkish Rock Movement was born. One listen to "Ikimiz Bir Fidaniz," by Kamuran Akkor will solidify this: trancey, distorted guitars, electric saz, synth, and funky beats meet the Arab world's traditional music styles, from modes and scales to its vocal phrasings, wholesale. The very next cut, Moğolar's "Musik Moğolar," is another case in point. A taut, insistent electric bassline rumbles and propels a swooping violin, and electric piano into a hybrid of psych, funk and Middle Eastern folk. Koray's "Cemalim," a well known single, highlights his masterful guitar playing, striding out on the rock edge a bit more with some frantic drum breaks, and haunted male vocals. Esmeray's " Ayrink Olsa Bile," is the trippiest thing she ever recorded--dig reverb on the popping hand claps and dumbeks.While "Binboğanin Kizi," by Manço is Turkish blues meets Farfisa psych, the set closes with the emergence of disco in Turkey with Nazan Şoray's "Tesselliye Sen Gerek." In sum, this is a killer collection that presents a vast amount of stylistic invention in a remarkably consie package. (Thom Jurek, Allmusic)
http://www66.zippyshare.com/v/lifcOUvb/file.html
BONUS 7 OF 8 @320
The Black Lillies - Hard to Please '15
Still, it’s the synergy between Contreras and Brady, especially on songs like “Dancin’,” “The First Time,” “Fade,” and “Broken Shore,” that effectively clinch its success, bringing back echoes of Johnny and June, Gram and Emmylou, John Doe and Exene, and practically every other great male/female duo of the past several decades. It’s their passion and dynamic that makes this album special and indeed, makes it sound like it’s one for the ages, and, one suspects, ages yet to come. (Glide Magazine)
http://www10.zippyshare.com/v/8eqWWGsv/file.html
INFO
http://www.glidemagazine.com/149854/black-lillies-hard-please-album-review/
http://www.amazon.com/Hard-Please-Black-Lillies/dp/B0144R8RLS
BONUS 8 OF 8
Muddy Waters 100 (2015)
This excellent tribute CD to the mighty McKinley Morganfield, aka Muddy Waters, was released in 2015, perfectly timed to the putative year of his birth (though far too many online sources list his birth year as 1913). No matter.
This CD reminds me a lot of a similar tribute to Robert Johnson, the live concert for which was held at the Apollo Theater in New York City. Everybody from Keb’ Mo’ and Taj Mahal to Todd Rundgren, the Roots, Betty Lavette, Sam Moore and Elvis Costello came to pay their musical debts to such a powerful musical influence as Johnson. What was so enjoyable about this concert was that each performer interpreted Robert’s songs with a mostly remarkable and original flourish. The concert on that too-short night demonstrated just how vital and alive the blues can be – and not just some note-for-note 20th century artifact played like a museum piece.
Fast forward a few years later, and while the personnel may have changed (with a few overlaps, including excellent performances on this CD by Keb’ Mo’ and Shemekia Copeland, who also appeared at the Johnson tribute), the assembled talent is a fortunate bit of production luck and opportunity, to the point, even, of having Johnny Winter’s last performance on the track, “I’m Ready,” the same title of the album Winter produced for Muddy in 1978. The rest of the band in this outing performs nothing short of perfect.
Superb Chicago blues vocalist and guitarist John Primer, who was in Muddy’s band until the latter’s death in 1983, handles lead vocals and offers up some nice guitar work throughout. Opening with one of the songs most identified with Muddy, “Got My Mojo Working,” we think for the first couple of bars that the arrangement is close to that of the Waters’ version, and that we’re in for some talented copies of Muddy originals. Nope. A few bars in, we realize the arrangement is definitely different, but close enough to offer homage to one of Muddy’s best loved songs, with Primer and Copeland handling vocal chores, while Vincent Bucher punctuates soulfully on harmonica, and the excellent rhythm section of Kenny “Beedy Eyes” Smith and Khari Parker conjure up the essence of what Muddy expected of his rhythm sections throughout the years. Bucher also does some surprisingly original work on “Forty Days And Forty Nights,” the lead track on a late-‘60’s album titled Fathers And Sons, by Waters.
Muddy 100 features some of the best harp players around, with the amazingly robust Waters’ alumnus James Cotton blowing his soulful riffs on “Good News,” Matthew Skoller taking it away on the equally iconic Waters tune, “Mannish Boy,” and Billy Branch on “Trouble No More.” Waters’ alumnus and prolific contributor to this magazine Bob Margolin takes his place on some smooth lead work on many of the tracks, while the nimble Derek Trucks contributes a subtle and textured slide guitar to the mix.
There is way too much good to say about this CD, other than to note that many of our favorite Muddy Waters’ tunes are here represented, each reinterpreted according to the artists’ lights and suggesting the power that was Muddy Waters. Thanks to producer Larry Skoller for creating an amazingly soulful and delightfully successful production – a worthy tribute to arguably one of the most influential musicians of the 20th century. (Blues Music Magazine Issue Seven)
http://www11.zippyshare.com/v/orODCsPc/file.html
INFO
http://www.amazon.com/Muddy-Waters-100/dp/B00VA3Q7IK
Thank you, RYP and Gyro!
Thanks Ryd
The acoustic blues is a winner. Great work.
Regards
Rhod
Thanks again for so much pleasure.
Thanks Gyro for the Lil Son Jackson - much appreciated
Thanks
Gyro -- You're so right about "Loaded". A high point.
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